Here it is, the last big movie of the summer! So it was no surprise that we gathered our own full squadron of mismatched degenerates to take on James Gunn’s Guardians of the Galaxy.
We’ve got J.C. de Raccoon, Will Goss-mora, Beau The (Mic) Destroyer, Elliott (aka Star Lawyer), and Richard The J’accuse-r.
Also Brian’s back…kind of.
Would this weird, wild assortment of intergalactic ne’er do wells gel into something thoroughly entertaining? Oh, and will the movie be any good? Listen and find out!
I think I’m a good person. I’d like to believe I’m always trying to look out for the needs of those around me. However, I can’t guarantee that I wouldn’t use extraordinary events to better my position in life. It’s very cynical of me I know, but then again many filmmakers out there have many of the same beliefs based on the conflicts in many movies we see these days. Bradley King’s full length feature debut, Time Lapse, explores such a scenario.
Of my many shameful film gaps, Primer is one of several time paradox films that I simply just haven’t caught up with yet. I only bring it up now as it seems to be the standard to which all other time paradox movies are compared. Maybe it’s a good thing I’m sitting here talking about Time Lapse and am unable to compare it to a lot of films sitting in my memory bank. It’s speculation on my part, but one thing I’m assuming King’s film has in common with something like Primer is the embrace of what I’m sure was an incredibly low budget.
Time Lapse tells the story of three friends, Callie (Danielle Panabaker), Finn (Matt O’Leary) and Jasper (George Finn) who run an apartment complex. When concern for one of the tenants is raised, they decide to go into his apartment to check on him. Inside the apartment, they find a staggering amount of Polaroid photos stuck to the wall. All of them are taken from a view that looks through their own window into their living room. Equally staggering is the device taking the photos, a massive camera bolted to the floor that is set to take a picture at 8:00 p.m. everyday. The trio quickly realize that the events in the pictures are taking place 24 hours in the future.
Like the characters in the film, I’m sure the first place your mind would go if presented the same information is, “How can I use this to my advantage?” The most common answers probably involve earning money, but how would you use this machine to make money? Time Lapse uses that common endgame to propel the majority of the film, but also explores the search for inspiration as well as the strain of close relationships in troubling circumstances.
The characters in the film each have their own vision for how the machine can benefit their situation, but none agree on when their obsession should reach its natural conclusion. Jasper’s mental stability continuously dwindles as he becomes more paranoid about his sports bookie’s intentions toward his winning streak. Finn finds his inspiration turning against Jasper and Callie (who happens to be dating Finn) has issues of her own. The machine is basically a character, acting like drug that the trio just cannot quit.
The camera itself is kind of interesting in design, though viewers mostly see parts of it and not the device as a whole. The sound of the shutter is startling at first with how abrasive the sound is when it takes a picture. One of the keys to a science fiction/time travel film is having a memorable “time machine” and I think Time Lapse for the most part delivers that. It’s not flashy or all that otherworldly looking when you see it, but it’s effective for this film. If some random old cook had built some super extravagant time machine, this all would have come off so much more silly. This has a very DIY feel which makes everything that happens feel much more grounded.
Where the film struggles is the cast. With a small cast, you have to ask a lot of the actors in the roles and 3/4 of the actors in the film don’t always do the material justice. It’s a bit frustrating because at times everyone is very good, but then there are glimpses where one or all of the actors should have been reined in a bit. Panabaker and Finn (the actor not the character) are probably the two more inconsistent cast members while O’Leary is able to keep it together for the majority of the movie. Jason Spisak makes a few appearances later in the film as Jasper’s bookie Ivan and does a pretty great job at giving the film a “villain.” However one specific moment that Spisak raises his voice I found particularly unintentionally funny.
To close out Time Lapse I will simply say that while I enjoyed the movie as a whole, it did at times feel like I was watching the entirety of a TV miniseries or a really long episode of The Twilight Zone. Not because it’s not fit for the big screen, but just by the way the story unfolds and the use of some of the scene transitions. Other than that Time Lapse has a pretty eerie score, mostly decent acting and a pretty intriguing premise. You gotta respect a filmmaker that sees time travel potential in ancient photography methods. Overall, this one is worth a watch.
Allow me to welcome you to Round 3 of “Somebody Likes It”, wherein your three hosts gather in Kevin’s garage and try not to die from heat stroke. It’s summer time in Austin Texas, and for some unknown reason, not one of us remembered that without an air conditioner in Kevin’s garage, things were bound to get a little steamy. And I don’t mean like in a Sexy Movie way. Even leaving the beer fridge open was no help. At one point I almost lost an arm when it stuck to recording table.
For our third episode, we decided to tackle “Rumors” by Fleetwood Mac. At first glance it seemed kind of an odd choice to me (Ryan’s turn to choose), but when I was listening to it I realized that so many of the songs had become like wall paper to me. Their ubiquitous nature had removed any emotion from them. However, this is one of the bestselling records of all time. At 40 million sold (and counting) somebody really fucking likes this. I think we all came to the realization that the back story was pretty important to a lot of those songs, and by extension, a lot of those sales.
Things are starting to click a little better in the (hot) garage. We all feel like we’re starting to get the hang of how to keep the show moving, and not get bogged down in tangents as much. We’re still figuring out some of the audio stuff, but that’s getting better every week too. By next week, that stuff should be mostly sorted out.
Oh, and speaking of next week, it’s gonna be a doozy. It was my week to choose, and I made Kevin and Ryan listen to Bon Jovi’s “Slippery when Wet”. Let’s just say it was worse than I thought it would be: their responses to my choice, as well as the record itself. It’s bad, really bad. Really really bad.
Ah, the work week. Most of the time you’re just trying to make ends meet while working through the daily grind. Of course, it’s possible you might have a job that’s anything but ordinary, but you still put in the needed hours in order to make enough to scrape by.
In terms of professions, drug dealing isn’t exactly the most honest or legal gig in the world, but it’s a relatively straightforward job. You obtain the product from a source, usually the producer of said product, and sell it to the client for a profit. Easy, right? Well, if something goes wrong in the process of delivering a certain amount of drugs worth quite a hefty amount, the results usually end up messy for the dealer. A very bloody and painful kind of mess. Still, a bloody mess can be a very entertaining watch.
That’s what you can expect in Dealer, the French-language feature film debut of director Jean Luc Herbulot. The film follows Dan (Dan Bronchinson), a middle-aged drug dealer and extortionist who’s working to make enough money selling drugs to get himself, his estranged wife and six-year-old daughter out of the most crime ridden section of Paris to the pearly white beaches of Australia. He’s a professional criminal, with an emphasis on the professional. He knows that a for a drug deal to go smoothly, the dealer and client need to have a common understanding with each other. No bullshit and no excuses because either one will make a deal go sour. A sour deal typically ends up being bad for both the client and the dealer. That’s exactly what happens when Dan tries to make a big score involving the selling of a very nasty French drug lord’s bag of coke. As Dan tries to scramble to make up for a series of unfortunate events, the lives of his wife and daughter are under the careful watch of the brutal drug lord, Delo (Henry Bruno).
Dealer is very reminiscent of British filmmaker Guy Ritchie’s early work. Much like Ritchie’s movies, Dealer doesn’t show the opulent criminal lifestyle that one has seen in movies like TheGodfather or Casino. No, Dealer lets its audience know that a life of crime is nasty and low-paying work. Sure, you can get some serious cash in a short amount of time, but dollars soon to turn to dust when you constantly have to pay off the bigger fish waiting to eat you. Anyone who enjoys films like Snatch or Lock, Stock and Two-Smoking Barrels will feel at home while watching Dealer.
When it comes to characters, Dealer offers the typical sort you might find in a crime thriller. Dan may be the protagonist, but he’s anything but a nice guy. Extortion, pimping and dealing are his means of earning the cash to support his lifestyle. He’s the kind of guy that will smile at you one minute and knock your teeth out the next. He’s not exactly likeable, but as his plight continues to worsen, you do start to feel a small measure of sympathy for him. It’s a small amount, but it’s there. The tension ratchets up considerably when the film breaks into a montage of Dan going on a one-man extortion fest in an attempt to make enough money to buy the freedom of his loved ones. You start to feel Dan’s dread when you learn that extorting a bunch of junkies for cash doesn’t exactly yield the most profitable results.
Outside of Dan, you have two other characters of noted. There’s Dan’s coked out and mentally unstable girlfriend, Chris, played by Elsa Madeline. When not coked out of her mind, she spends her free time sleeping with anything walking on two legs. She enjoys teasing Dan and goes out of her way to make his life even more hectic than it already is. Then there’s the film’s villain, Henry Bruno’s Delo. Delo is the diabetes-stricken drug lord of everything cocaine. He likes to joke and make the occasional veiled threat. Whatever you do, don’t get him talking about his pastries. He expresses his disappointment of not being able to enjoy his favorite sweets by torturing anyone who dares to cross him.
Dealer isn’t free of problems though. The first third of the film features an uncomfortable amount of shaky cam. A chase scene involving the title character and three crooked cops might as well have had a giant monster attacking the city at the same time. The camera bobs and weaves so fast that it’s a struggle for your eyes to keep up with the action on screen. It’s distracting and nausea-inducing. It’s not Cloverfield level of incompressible camera movement, but it’s not at all pleasant to watch. Thankfully, the camera remains steady throughout the rest of the picture.
Dealer achieves exactly what it set out to do. It offers plenty of thrills, action and violence to keep you entertained for its relatively short run time of 75-minutes. It’s well worth a watch and definitely a film for a lover of gritty urban crime stories. Bronchinson, Madeline and Henry give strong performances, which immediately capture the attention of the viewer every time they’re on screen. Dealer is raw, unrelenting and entertaining as hell. Give it watch and let the worst scum of the French criminal underworld wash over you. It’s surprisingly refreshing.
As Summer beats us over the head, it’s another episode of the Wayward Podcast! This time, we’re taking on the dreaded topic of anime (“dreaded” because Chris notoriously hates does not watch anything non-Studio Ghibli). If you’re here to listen to us squee over your favorite shows, sorry, but there’s very little of that. We’re talking a little bit about what goes on behind the scenes from voice actors to making money.
Note: In this episode, there’s actually very little spoiling going on aside from the Supernatural references. At the very end, there is talk about the visual appeal of Michael Bay’s filming technique. The referenced video is below:
Ghost stories are something of a hard sell these days. With the return of the found footage format, ghost movies are usually only shown in theatres when the camera is bobbing and weaving at a disorienting rate. The scares start to become predictable and boring as all hell. Thankfully, Armenian director Aik Karapetian’s horror film The Man in the Orange Jacket is a return to the classic haunted house horror movie with not a single found footage shot in sight.
Filmed in Latvia, The Man in the Orange Jacket follows a young man named Dan (Maxim Lazerev) who has recently been fired from his job. Angry and bitter over his dismissal, Dan stalks his former employer (Aris Rozentals) and his employer’s beautiful wife (Anta Azupe). After hunting them down, he takes up residence in their resplendent mansion and attempts to live a lavish lifestyle. However, Dan soon learns that he is being stalked by a mysterious specter. This violent spirit wonders the halls, occasionally manipulating what the young man sees and hears the entire time.
The Man in the Orange Jacket is every bit a haunted house film. It ratchets ups its scares over time, slowly revealing the mysterious horrors that are alive within the house. The mansion is as much as a character as Dan is. Its rooms are bone white, but not overly creepy or foreboding. It’s more modern looking than one might expect for a mansion haunted with vengeful ghosts. This stark simplicity serves to add to the terror. Much like the protagonist, there’s an unfeeling coldness to the place that is unrelenting. There’s no real warmth. Chilled tiled floors echo with each footstep, and long tall white walls are home to shadows as the sun slowly dips down overtime. No cobwebs or creepy dead-eye dolls to stare back at you here. No, the horror in this house can be found in the immaculately clean underground stone pantry and open foyer.
Karapetian chooses to not give any of the characters names, with the exception of the protagonist. This might create a bit of a disconnect for some viewers, especially with Dan being such a detestable human being to begin with. For most of the movie, it’s a one man show. Dan wonders the halls of his “home” and makes play as a man of great wealth. After spending enough time with him, audience’s disgust and contempt for Dan will only grow with more intensity. He’s a selfish pig whose fantasies of murder and necrophilia make him only more of a target for the house’s vengeance.
The film is also brutally violent, especially in the first act. Murder, rape, torture and mutilation are all on display in this movie. The camera doesn’t shy away from even the most horrific of images. Deaths by stabbing and torture are slow, and may even be a little drawn out. Dan partakes in most of these acts, which only provides more reasons for the audience to despise him.
In any case, The Man in the Orange Jacket is a very entertaining watch that will keep you captivated from beginning to end. It offers plenty of scares, mystery and the possibility of future discussions about what really happened long after the credits have rolled. It definitely deserves at least one viewing to experience a proper horror movie.
I have a lot of love for the Teen Titans. I followed writer Geoff Johns over from his run on The Flash to the Teen Titans, which is where I really got my DC Comics education. I fell in love with the current team, which led me to explore all the heroes they were connected to. I also looked into all the history and moreover the legacy that came with the Titan name.
The Teen Titans became my favorite team in the entire DC universe, which is a real shame because the series has not been good for quite some time. The books basically became unreadable before the New 52 and the shake up of the DC universe made it even worse until its merciful death a short while ago. However, the Teen Titans name is one of the most well known titles for DC in today’s youth, be they comic enthusiasts or simply casual fans. The soft reboot, which debuted a few weeks ago, was inevitable.
But is it any good?
I’m not going to do an in-depth review or recap of the issue here. There are plenty of places for that, but that isn’t what I’m trying to do. I want to give you my general thoughts on the issue and then leave it up to you if you want to cough up a couple bucks to experience the issue yourself.
I’m also not going dive into the whole controversy (here’s your starting point) that happened upon the release of this cover, except to say that Janelle Asselin’s concerns about how Wonder Girl is drawn carry over into the issue itself. Wonder Girl is drawn in a way that would make pin-up models jealous. Look, I know Cassie Sandsmark is extremely attractive for her age and I know that many young girls (especially those that look anything like Cassie) want to express their new-found sexuality in how they dress. I also know that this is a book trying to bring in young readers in a predominately male market, so featuring a female character so hot she could not only stop traffic but she would cause everyone’s tires to blow out is good for marketing. However, Cassie is her mid-teens at best, so when you vamp her up to the point where her sexiness is, well…
I refuse to apologize for this joke.
then you’ve kind of crossed over into the creepy category. Hell, they even have the cleavage line in the extremely far away shots, lest we forget Wonder Girl has breasts. Mr. Kenneth Rocafort, your talent as an artist shines through in this issue. No shitty artist could make characters look this expressive and appealing, but this is a 16 year old girl here! I’m not saying turn it off, but how about down? You want to put your talents to work get to fixing whatever nightmare they have Raven wearing these days ’cause them new duds be something dreadful.
Anyway, this is your basic character introduction issue, meaning in a single issue you get a to see who all the characters are, what are their powers, and briefly how they interact with each other. Some terrorist group has grabbed a bunch of kids as hostages and is heading out to S.T.A.R. Labs to stop the people there from doing something they think is bad. It is purposely left vague and will probably be an unfolding mystery as the series progresses. Anyways, our Titans (Red Robin, Wonder Girl, Beast Boy, Bunker, and Raven), not being fans of those who kidnap and endanger children, are on the case to stop the bad guys.
One of the things that I found a little shocking was the somewhat casual disregard for loss of life on the parts of our heroes. None of the characters try to kill anybody, but they don’t seem overly concerned when the kidnappers get seriously hurt or worse. I understand that perhaps given the situation there wasn’t much they could do, but they don’t seem overly affected by things when they go south. Red Robin seems especially out of character in this. Tim Drake is a world class strategist and detective who was trained by and lives by the same code as Batman. No way should he shrug all this off as easily as he does. Also it was weird not to see Tim wield his staff at any point. In a book that is about introducing the characters and what they can do that they skip showing the weapon ever comic fan knows him for.
I was so ready for this issue to suck, but it doesn’t. While I wouldn’t call it good, it does have some great artwork and one a two plot ideas that could be interesting depending on where they decide to take them. It is a fun enough read, but nothing special. The next couple issue will solidify if this book has any shot at being good or if it is destined once again for the crapper. I say wait until word of mouth spreads about the first arc and then pick it up in trade should it sound interesting to you.
So, what do you think of the new Teen Titans? Would you like me to take a look at other comic releases, recent or otherwise? Let us know in the comments below!
The Hunger Games has proven itself to be one of the biggest and most lucrative cinematic franchises of today. Its last film, The Hunger Games: Catching Fire, was not only a box office juggernaut, but also one of the most critically acclaimed movies of last year. Now, with the first teaser trailer for The Hunger Games: Mockingjay – Part 1, excitement for the post-apocalyptic series is at an all-time high. You have the drama, the action, and Jennifer Lawrence. That’s all you need in a trailer.
The teaser opens with Plutarch Heavensbee, played by the late Phillip Seymour Hoffman, stating that for this new rebellion to be successful, Katniss Everdeen (Lawrence) needs to be at the forefront of it. President Coin (Julianne Moore), the de-facto leader of the rebellion, is unsure of Katniss’ mental stability, and states that she believes the events within the Hunger Games have left her broken.
The trailer cuts to Katniss walking through a warehouse filled with refugees and freedom fighters. A brief glimpse of Natalie Dormer (Game of Thrones) as the tattooed warrior Cressida can be seen during Katniss’ walk through the masses. A young rebel finally stops and asks Katniss if she’ll fight with them. She nervously responds that she will.
It’s obvious that Mockingjay-Part 1 is ratcheting up the drama and violence in this installment. The trailer features images of warfare and mass executions being carried out by the tyrannical Capital’s faceless storm troopers. President Snow, (Donald Sutherland) makes a brief appearance outlawing the use of the Mockingjay symbol, explaining that death will be the punishment for those who choose to display it.
As excited as I am for Mockingjay-Part 1, I’ve heard from numerous Hunger Games readers that the third novel, which this film is based on, is the weakest book in the series. Having not read past the second book, I feel a slight twinge of apprehension, especially with the final story being split into two movies. Still, Francis Lawrence (The Hunger Games:Catching Fire, I Am Legend) is back in the directing chair, and is credited with much of the success for the last film. If anything, I just hope they manage to tell an entertaining story that capitalizes on the talent involved with the production.
The Hunger Games: Mockingjay-Part 1 opens November 21, 2014.
What about you reader? What do you think of the latest trailer? Let us know in the comments below!
We here at One Of Us love video games. We don’t talk about the medium much around these parts (leaving that craft to the fine folks at Rage Select), but rest assured many of the Us have sat our butts in front of screens, joysticks, controllers, or keyboards at the ready for fun and excitement.
If you were to ask me what is the perfect game, I would reply that there is no such thing as the “perfect” game. If you pushed the issue and by asking me what game I thought was the closest to perfect, my answer would be two words,
Super Metroid.
This isn’t just childhood nostalgia talking. I didn’t play Super Metroid until 2006, well into my adult years and a decade after the game’s initial release. This isn’t about nostalgia, this true appreciation for the craft. Even after all these years, I still hold it as the pinnacle of design and execution, even over today’s best and brightest. So why does Super Metroid continue to shine and what can modern games learn from this classic?
Well now, let’s take a deeper look and see.
5. Health Management And Save Points.
I’m just going to come out and say it, regenerating health and autosaves are overused, to the detriment of our games. The Metroid series didn’t invent the life bar or the save point, but it did manage integrate health management and progression logging into its core gameplay in a way that built tension, suspense, and atmosphere in excellent fashion.
It made the player stop and think instead of just bulldozing through because every video game protagonist is now Wolverine and death means only being moved back five feet. Do you have enough health to get to the next save point? Do you even know where the next save point was going to be? You better not screw up before you find it because then you’ll have to fight your way back here. It’s build up and then release that would make Hitchcock proud. Regenerating health does have its place, but I really do think a life bar would add more excitement to many of today’s modern games.
4. Bosses React To What Weapon You Use.
Simple idea, profound effect. The bosses in Super Metroid not only had attacks they were strong or weak against but they also would alter their behavior depending on the weapon you were using. For instance take our friend Phantoon here. Using Super Missiles was highly effective in terms of damaging him. Unfortunately for the player, they also make Phantoon extremely aggressive. By introducing the idea that just because the player was handed a new toy didn’t necessarily mean it was the best one for the job. It encouraged experimentation and analysis on risk vs reward. How many games today do anything more than give you a new weapon and then send you into a boss battle that hinges on you having said weapon? I’m not saying that this is a completely bad practice. When it is done well, it is highly effective and enjoyable, but it is also predictable and safe. Trust in your gamers dear developers, give us options and let us take our own path.
3. Backtracking And Exploration Have A Real Purpose.
I am not a completionist when it comes to games. It is very rare for me bother finishing 100% of any game I play. This is because most games pad things out with modes or trinket hunts that have little to no bearing on the overall story, so I have no interest in doing them. I don’t like being handed busy work, it isn’t why I play games. The Metroid series takes a different path, you need to backtrack and to explore to beat the main game. Exploring doesn’t net you some meaningless achievement or trophy, it is vital for progression. You start the game in a very weak position and as you figure out where to go and what to do, you are quickly introduced to the formula that exploration nets power and that power is necessary to move forward in the game. This discovery spurs you on to explore the world on your own.
The Metroid series goes one better as it taunts you with doors and places you can’t open or get to… yet. Once you do have the abilities unlocked the player feels a strong desire to go back and unlock those areas previously denied to them because important power-ups are sure to be found there. Even though it is backtracking, it is in fact progression in the game as the player searches for more power they are also mentally and emotionally rewarded by the newly found ease at which they can navigate previously challenging sections of the map.
While all Metroid games do this, Super Metroid is the undisputed king of rewarding backtracking and exploration for the series. Other entries either didn’t manage to use this element of the game to the same effect as Super Metroid or pushed to hard and turned what was exciting into tedious work at points to progress the story.
Games today seem to be focused on just how big their game maps are, but what good is a big plate with nothing on it? Give me a tighter, more focused gamespace that rewards my attention and exploration over gigantic maps that have me do nothing except drag the character from set piece to set piece any day.
2. It Is A Brilliant Piece Of Minimalist Storytelling.
All you need to understand about what has happened before this game is is this short opening section. The exposition is basic and to the point, but the real achievement here is how much is set up for you using the visuals. The opening scene of the Baby Metroid in its containment tube surrounded by dead bodies lets you know from the very start that this game isn’t messing around. The opening narration shows the player Turian and Mother Brain so that when they first visit that section of the game, you actually see the wreckage left over from that battle, giving the player an sense time and a connection to previous events. It even comes back into play very late in the game giving the player a heads up as to what to expect when they again return to Turian and how to beat the first form of the final boss, (spoiler(not really)) Mother Brain.
So much of this game is told through audio and visual cues. Many games today have long and wordy tutorial sections while games like Super Metroid makes the player learn the game by playing it. The music to this game is outstanding and meshes with the visual design for each area to make each section feel more immersive and real. The game gives the player just enough where they can infer what happened, which in some ways is more powerful than simply coming straight out and telling us.
While everything you need to know is covered in the game proper, that doesn’t mean there aren’t things that can be learned from the supplemental material. For example, the reason why Samus hates Ridley so damn much is never explained in the game. However, the player is given so many reasons to hate him already, so the relationship is evident from the beginning. This fierce rivalry also encourages players to seek out the backstory in other games. It hardly makes them hate him more, it just reinforces their hatred and makes kicking his ass all the more cathartic on the next go round.
I’m not against talking and cutscenes in games, My love for the Metal Gear series should be proof enough of that. However I think many modern games use it as a crutch and don’t try and explore what really can be done with the medium in terms of visual storytelling.
1. There Is No Wrong Way To Play It.
Super Metroid is a game that is both exciting and rewarding no matter which way you choose to approach it. Completionists, casuals, speed runners, minimalist runners, and just about everybody else on the planet can find challenge and entertainment. It is a game that lets you play it the way you want to. I normally keep my playthroughs of the game casual with only very minor sequence breaking and I top out in the mid seventies in total percentage of items. It isn’t fancy and I appreciate and admire those who approach the game differently, but this is how I choose to play the game. A game that truly has something for all, look back on this dear game devs and here our cry. This is what we want so go out and try and make it happen!
I could keep going, picking apart all the pieces of this classic to show you how and why they work, but I much rather you go play the game and feel what I’m talking about, be it your first or hundredth time.
Do you love Super Metroid like I do, or does another game have your heart? What is your “perfect” game and why? Let us know in the comments below.
With Brian still out of the picture, J.C., Elliott, and Tyler reconvene in the new OneOfUs Monster Dome to wax nerdy about all things sports…and plenty of things not.
The guys chat about the creative steps some high school athletes are taking to avoid the NCAA and actually get paid for their talents in other countries. They also discuss the latest twists to the NBA free agency narrative and how it applies to the new Teenage Mutant Ninja Turtle film. Yeah, we didn’t see the connection coming either. Oh, and Joel Embiid’s woeful social media awkwardness makes another appearance.
Finally, the guys pay tribute to the late, great Tony Gywnn and also revisit their favorite sports brawls in honor of the anniversary of the Pacers/Pistons Malice at the Palace altercation.
*Apologies for the late posting. It was entirely Brian’s fault*
Make sure to follow us on Twitter. If not, we’ll toss you in a DeLorean, hurl you back to Detroit ten years ago and sit you right next to the asshole in the glasses who threw the beer at Ron Artest.
